Unit 1 Course Contexts and Bibliography
Course Contexts
Conversation with Dan Howard-Birt during the End of term Pop-Up Exhibition install.
We concluded Unit 1 with a Pop-Up exhibition across MA Fine Art. During a group discussion with Dan Howard-Birt we talked about out work and how we would best curate the show. Although the intention of the show was to exhibit works in progress, a technical issue with one of the presses meant that my lithograph prints were not as finished as I had intended.
As we presented our artwork and began to discuss their placements, I felt concerned that the subtlety of my lithograph prints. illustrating quiet moments of modest domesticity, would be overlooked. The artworks of my peers were predominantly larger, bolder and more brightly coloured in comparison. It was a steep learning curve as the process of installing had begun and decisions were being finalised. After the initial set up, I asked Dan if I could speak with him regarding my concerns. I was encouraged not to be afraid of sentimentality and to further experiment with how I was going to display the pieces together.
Through this conversation and following the curation process, I was subsequently able to present my work more confidently. Having considered his advice I believe I exhibited my work successfully whilst maintaining my own creative intentions.
Artist talk by Kira Freije
We had an artist talk by Kira Freije that particularly resonated with me as she creates sculptures that are universally recognisable, intimate, and relating to memory. These themes also relate to my practice although our works visually look very different. However, it was the explanation of her practice and the methods of formulating her work that evoked the most meaning for me.
Kira expressed the significance of her studio space. Namely collating any imagery and words that she had collected onto the studio walls. She said that for her, it was vital to put anything that she found of vague interest into her studio, even if in that moment, she was unsure of where it would fit or how she would use it. As a result, these fragments would become integrated within her practice when they were most fitting. For example, short pieces of texts would become the titles of her work, which she described as integral to making them complete.
Passages of text and titles have always been important within my practice. Kira’s talk reminded me not to shy away from collecting snippets of information no matter how sentimental or insignificant they may seem.
Book binding workshop with Clare Bryan
During Unit 1 we had a book binding workshop with Clare Bryan. She demonstrated how it was possible to manipulate paper through folding and cutting to create new or to modify our existing artworks. We considered different folding techniques to create book-like structures. Furthermore, we contemplated the potential ways to alternatively display two-dimensional drawings and prints to form three-dimensional sculptural pieces through these methods.
I was particularly interested in using existing artworks to develop new pieces. I have studied the work of Susan Hiller throughout Unit 1 and, following this workshop I further considered her reconfigured pieces such as her series of Painting Books & Painting Blocks 1972-84. These are two series of previously exhibited paintings which had been reconstructed into sculptural formats. Within my own practice, I used the techniques taught to us by Clare to cut up a selection of my existing prints and bound them into small booklets. As a result, I was able to alter the perspective of the imagery that I had made, creating intimate pieces that were more archival and tactile.
Bibliography
Bachelard, G. (1964) The Poetics of Space (Translated Version), USA: The Orion Press, Inc.
Coldwell, P. (2005) Finding Spaces Between Shadows, Surface Layering Memory, London: Furnival Press
Coldwell, P. (2015) Material Things (Sculptures & Prints), Bradford: University of Bradford
Dent, G. (2020) Hungry, London: Harper Collins Publishers
Herman, J (1985), Memory of Memories, Glasgow: Third Eye Centre
Hiller, S. (2011) From Here to Eternity, Nuremburg: Kunsthalle Nuremburg
Roddy, R et al., (2020) In the Kitchen, Essays on food and life, London, Daunt Books
Parker, C. (1996) Avoided Object, Cardiff, Chapter Ltd.
Parker C. (2016) The Roof Garden Commission, New York, The Metropolitan Museum of Art
Slater, N. (2013) Toast, London: Fourth Estate Publishers
Turkle, S. (2011) Evocative Objects (Things we think with): London, MIT Press
Walker, C. (2013) In Every Dream Home, Wakefield: Anomie Publishing
Walker, C. (2021) Women’s Work, Birmingham: Midlands Arts Centre
Yanagi, S. (2018) The Beauty of Everyday Things, London: Penguin Random House
Zauner, M. (2021) Crying in H Mart, London: Penguin Random House
Podcasts
Tate (2019) The Art of Memory. [Podcast]. 22 January 2019 Available at: https://www.tate.org.uk/art/artists/pierre-bonnard-781/art-memory (Accessed: 25.11.2022).
Lisson ON AIR (2019) Susan Hiller: ‘Voices’ . [Podcast]. 30 September 2019, Available at: https://www.lissongallery.com/news/episode-9-on-air-with-susan-hiller-voices (Accessed: 03.01.2023).